The exploration and innovation of the three artists

Source: Overseas Network

Jiangnan Morning Mist (Chinese painting) By Yang Mingyi

The flowing of pen and ink in the south of the River, the sculptures full of philosophical thoughts, the majestic weather of freehand landscapes... Recently, a number of contemporary artists held a personal exhibition at the National Art Museum of China. The works on display are not only full of traditional Chinese aesthetics, but also full of exploration and innovation of the artist's personal style, reflecting the diversity and richness of current art.

Yang Mingyi "Can See Great Righteousness"

"Can See the Great Righteousness - Yang Mingyi Art and Documentation Exhibition" is divided into three chapters: "Art Travel Ink Painting", "Art Life" and "Art Circle Travel", with a total of more than 100 works on display, which not only shows the artist's creative path in different periods, but also reproduces his interaction with famous artists in the art world with letters, photos, manuscripts, collections and other documents. Yang Mingyi donated one piece of Zao Wou-Ki, Wang Jiqian and Shen Congwen's works that have been treasured for many years to the National Art Museum of China free of charge.

Born in Suzhou, Jiangsu Province, Yang Mingyi studied in Suzhou Arts and Crafts college in his early years. In the 1960s and 1970s, his prints glorified labor with gusu women and water village landscapes. The beautiful Jiangnan girl bathed in the spring breeze of the water town under his pen, which became a portrayal of the new appearance of socialist urban and rural areas. In the late 1970s and early 1980s, Yang Mingyi consciously combined watermark prints with ink painting, both the skill of printmaking and the agility of ink painting, with a bright and fresh, rich Jiangnan style for the painting world to attract attention, such as the 1978 ink painting "Water Town Festival" found the beauty of Zhouzhuang, showing the real and rich life scenes. After that, Yang Mingyi went overseas to study and developed a strong interest in the similarities and differences of Chinese and foreign art. In the comparison of Chinese and Western art, Yang Mingyi deepened his knowledge and understanding of traditional Chinese art and enhanced his self-confidence in national culture.

In 1999, Yang Mingyi returned to his hometown after a decade of absence. At this time, Suzhou was at the forefront of reform and opening up, and the modern civilization of the industrial park and the traditional culture with a long history reflected each other, inspiring the artist's enthusiasm to depict the new appearance of Gusu again. Yang Mingyi created works such as "Today's Suzhou Paradise on Earth", "Bridge Town", "Azure Night" and other works that express the new image of the times, indulging in the voice of the wanderer.

Art critic Shao Dazhen believes that in Yang Mingyi's ink paintings, there are not only the influences of literati brush and ink and chapter methods, but also the traces of sketching and sketching in Western paintings, as well as the techniques of watermark woodcuts and watercolor paintings. These techniques and techniques form an organic synthesis in his artistic creation, which is the characteristic of Yang Mingyi's artistic creation, and it is also an exploration and innovation path for Chinese painting today to move towards multiple concepts and forms.

Xiong Bingming "The Return of the Shaper"

This year is the 100th anniversary of Xiong Bingming's birth, "The Return of the Plastic - Xiong Bingming Art Retrospective Exhibition" exhibits more than 150 works of Xiong Bingming's sculptures, paintings, calligraphy and many other art disciplines, showing his artistic life and philosophical thinking through the three parts of shaping "self", "people" and "things". The works and documents on display are donated by Xiong Bingming's family and Yang Zhenning and his wife.

Xiong Bingming is a French-Chinese artist and philosopher. He taught Chinese culture and philosophy at the School of Oriental Languages and Cultures of the University of Paris III, and at the same time opened calligraphy classes, engaged in calligraphy practice and teaching research, and was awarded the Honorary Professor of Nanjing University in 2001.

The exhibition takes Xiong Bingming's sculptures as the main line and the philosophy of his creation as the internal logic. Through the chapter of "Shaping 'Self'", the audience can feel the artist's "heart" plastic process and the inspiration of faith; the "Plastic 'Person'" chapter presents the artist's love for the image of life and the imagination of the life itself; the chapter of "Plastic 'Thing'" gives a rich spiritual connotation to the seemingly ordinary things in the concise shape, line and block surface.

To shape people is to shape oneself. Close friend Yang Zhenning wrote in the inscription of the sculpture "Baby Cow": "Bingming shaped the self-knowledge of generations of Chinese intellectuals in the twentieth century. Wu Guanzhong also said: "Its way is also to infiltrate from the East into the West, and then from the West and back to the East." This is not so much an interpretation of Xiong Bingming's work as it is an endorsement of his "self" spirit.

Xiong Bingming has lived in France for more than 50 years, and is a cultural self-conscious person who integrated Chinese and Western cultures in the 20th century and practiced enlightenment with philosophy, literature and art. He said he was "an experiment of life" and "a seed of Chinese culture."

Shen Shihui "Hui Ying Yun Shan"

More than 100 landscape masterpieces in the "Huiying Yunshan - Shen Shihui Landscape Works Exhibition" are magnificent and thick, which systematically show the artist's creative process and achievements in the past 40 years.

Shen Shihui, born in Tianjin in 1959, graduated from the Tianjin Academy of Fine Arts majoring in Chinese Painting and is now a professor at the Tianjin Academy of Fine Arts. In the mid-to-late 1980s, Shen Shihui made a thematic exploration and breakthrough in the expressive language and techniques of landscape painting clouds and water. For more than 30 years, he has devoted himself to the study of emotions and emotional factors in the creation of Chinese ink painting, realized from his sister art, and obtained the influence of previous generations of painters, spreading out his brush edges in his creation, forming a unique new technique and theoretical characteristics of splashing ink and scattering large-scale landscape painting.

This exhibition is divided into two units: "Creation, Heart Source" and "Ink Poetry". The "Creation and Creation of Hearts" unit shows the artist's new exploration and new realm in the creation of landscape painting in recent years, and the "Ink Poetry" unit shows the artist's research and creation on the splashed ink scattered sharp landscape painting, especially the two ten-meter-long scrolls "Huiying Cloud Mountain" and "Xinglong Mountain", which are magnificent, empty and clear, with love into the painting, with scenery lyricism, whether it is lofty mountains or waterfalls and springs, giving people a beautiful enjoyment.

Wu Weishan, director of the National Art Museum of China, believes that Shen Shihui's landscape paintings give people a sense of cloudy mountains and vast mountains. This stems from his observation experience in the process of in-depth life, but also from his in-depth study of traditional brush and ink, and his deep understanding and integration in the process of understanding and comprehension. (Reporter Lai Rui)

People's Daily Overseas Edition ( April 28, 2022, Page 12)